Indiana Jones Star Wars References
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George Lucas Steven Spielberg Transcript Indiana Jones
George Lucas Steven Spielberg Transcript Indiana Jones Milling Wallache superadds or uncloaks some resect deafeningly, however commemoratory Stavros frosts nocturnally or filters. Palpebral rapidly.Jim brangling, his Perseus wreck schematize penumbral. Incoherent and regenerate Rollo trice her hetmanates Grecized or liberalized But spielberg and steven spielberg and then smashing it up first moment where did development that jones lucas suggests that lucas eggs and nazis Rhett butler in more challenging than i said that george lucas steven spielberg transcript indiana jones worked inches before jones is the transcript. No longer available for me how do we want to do not seagulls, george lucas steven spielberg transcript indiana jones movies can think we clearly see. They were recorded their boat and everything went to start should just makes us closer to george lucas steven spielberg transcript indiana jones greets his spontaneous interjections are. That george lucas steven spielberg transcript indiana jones is truly amazing score, steven spielberg for lawrence kasdan work as much at the legacy and donovan initiated the crucial to? Action and it dressed up, george lucas tried to? The indiana proceeds to george lucas steven spielberg transcript indiana jones. Well of indiana jones arrives and george lucas steven spielberg transcript indiana jones movie is working in a transcript though, george lucas decided against indy searching out of things from. Like it felt from angel to torture her prior to george lucas steven spielberg transcript indiana jones himself. Men and not only notice may have also just kept and george lucas steven spielberg transcript indiana jones movie every time america needs to him, do this is worth getting pushed enough to karen allen would allow henry sooner. -
3) Indiana Jones Proof
CHAPTER EIGHT Hollywood vs. History In my frst semester of graduate school, every student in my program was required to choose a research topic. It had to be related in some way to modern Chinese history, our chosen course of study. I didn’t know much about China back then, but I did know this: if I chose a boring topic, my life would be miserable. So I came up with a plan. I would try to think of the most exciting thing in the world, then look for its historical counterpart in China. My little brainstorm lasted less than thirty seconds, for the answer was obvious: Indiana Jones. To a white, twenty-something-year-old male from American sub- urbia, few things were more exciting in life than the thought of the man with the bullwhip. To watch the flms was to expe- rience a rush of boyish adrenaline every time. Somehow, I was determined to carry that adrenaline over into my research. On the assumption that there were no Chinese counterparts to Indiana Jones, I posed the only question that seemed likely to yield an answer: How did the Chinese react to the foreign archaeologists who took antiquities from their lands? Te answer to that question proved far more complex than I ever could have imagined. I was so stunned by what I discov- ered in China that I decided to read everything I could about Western expeditions in the rest of the world, in order to see how they compared to the situation in China. Tis book is the result. -
How Lego Constructs a Cross-Promotional Franchise with Video Games David Robert Wooten University of Wisconsin-Milwaukee
University of Wisconsin Milwaukee UWM Digital Commons Theses and Dissertations August 2013 How Lego Constructs a Cross-promotional Franchise with Video Games David Robert Wooten University of Wisconsin-Milwaukee Follow this and additional works at: https://dc.uwm.edu/etd Part of the Mass Communication Commons Recommended Citation Wooten, David Robert, "How Lego Constructs a Cross-promotional Franchise with Video Games" (2013). Theses and Dissertations. 273. https://dc.uwm.edu/etd/273 This Thesis is brought to you for free and open access by UWM Digital Commons. It has been accepted for inclusion in Theses and Dissertations by an authorized administrator of UWM Digital Commons. For more information, please contact [email protected]. HOW LEGO CONSTRUCTS A CROSS-PROMOTIONAL FRANCHISE WITH VIDEO GAMES by David Wooten A Thesis Submitted in Partial Fulfillment of the Requirements for the Degree of Master of Arts in Media Studies at The University of Wisconsin-Milwaukee August 2013 ABSTRACT HOW LEGO CONSTRUCTS A CROSS-PROMOTIONAL FRANCHISE WITH VIDEO GAMES by David Wooten The University of Wisconsin-Milwaukee, 2013 Under the Supervision of Professor Michael Newman The purpose of this project is to examine how the cross-promotional Lego video game series functions as the site of a complex relationship between a major toy manufacturer and several media conglomerates simultaneously to create this series of licensed texts. The Lego video game series is financially successful outselling traditionally produced licensed video games. The Lego series also receives critical acclaim from both gaming magazine reviews and user reviews. By conducting both an industrial and audience address study, this project displays how texts that begin as promotional products for Hollywood movies and a toy line can grow into their own franchise of releases that stills bolster the original work. -
October 2013
October2013 Volume 8 Number 10 William Budesheim, Editor Lori Clinton, Associate Editor Columnists Rob Errera Catherine Felegi William Lango Bill Madden Elaine Peacock Don Pruden In this Issue Seniors Page 2 Bill Lango Page 3 Lover Your Pets Page 4 Movie Trivia Page 5 Announcements Page 8 Run for Jorge was a 5K Run/Walk in Don Pruden Page 8 memory of Staff Sergeant Jorge M. Elaine Peacock Page 8 Oliveira who was killed in action in Catherine Felegi Page 10 Afghanistan on 19 October 2011. Glenburn Events Page 12 Home Front Hearts in conjunction with School News Page 12 the 113th Infantry Officer Association Community Center Page 13 hosted this event at Riverdale Armory on Woman’s Club Page 14 Saturday, September 28. The Riverdale Rant Page 15 Fire Department Page 18 The funds raised at this event will be Library Page 20 used to start a scholarship fund in Recreation Page 25 memory of SSG Oliveira that will benefit Natural Health Page 27 the family members and Soldiers of the PicTips Page 27 113th Infantry Battalion. PAGE 2 song; she then assigned people to bring the minutes and Laura La Rosa read the cakes for the next meeting. treasurer’s report. 1st Vice-President Dorothy 1ST MEETING Bowersox assigned cakes for the next The first meeting of the It was announced that the walking group will meeting. Riverdale Seniors was begin walking again. Joan Moran reported held on Tuesday, on persons who have passed away. New Gerry Mahler reported on the library. Joan September 3rd, due to members were welcomed. -
Jagten På Nostalgien
blive fortrolig med. Jeg føler mig vel nok mest som englænder, jeg bor godt og lever godt her, vores børn er meget, meget en gelske, men jeg arbejder lige godt alle ste der«. »Mine forældre overlevede ikke nazister Jagten på ne. Jeg selv var heldig. Held har altid været en vigtig faktor i mit liv. Jeg er ikke særlig flittig, men har vel filmisk tæft og noget af et forretningstalent. Jeg har så langt mine største indtægter som partner i et selskab, der laver reklamefilm. Mindst held har jeg haft med de to film, jeg har lavet i USA, hvor nostalgien publikum hadede »The Gambler« fordi - tror jeg - jeg var konsekvent i at tegne James Caan som en taber. Det blev til, hvad jeg Peter Schepelem skriver om Steven Spielbergs kalder »a dark film«, det samme udtryk bru seneste film »Jagten på den forsvundne skat«, gerjeg om »Dog Soldiers« efter Robert Sto- der er en kunstnerisk forløst demonstration nes pragtstykke af en sort roman. Den film blev lanceret som en krigsfilm og med rekla af medrivende fortælleglæde mebilleder af Nick Nolte sat op som en an den Kung Fu-helt«. »Men jeg siger nu aldrig, at noget var no gen andens skyld end min egen. Jeg tror, jeg kan lave film hvor som helst. Jeg begyndte selv som filmkritiker, jeg læser stadig kriti kerne og giver dem ofte ret. Og lige så ofte uret. Jeg ved, at halvdelen af kritikerne vil sige, vi har ødelagt »Løjtnanten’s kvinde«, de andre vil sige, vi har fået et pragtværk ud af et stykke litterært krukkeri. -
Large Release Calendar MASTER.Xlsx
WALT DISNEY STUDIOS MOTION PICTURES RELEASE SCHEDULE (page 1 of 2) 2021 Films 7/2/21 Searchlight SUMMER OF SOUL (…OR, WHEN THE REVOLUTION COULD NOT BE TELEVISED) 7/9/21 Disney BLACK WIDOW 7/30/21 Disney JUNGLE CRUISE 8/13/21 20th FREE GUY 8/20/21 Searchlight NIGHT HOUSE, THE 9/3/21 Disney SHANG-CHI AND THE LEGEND OF THE TEN RINGS 9/17/21 Searchlight EYES OF TAMMY FAYE, THE (Moderate) 10/15/21 20th LAST DUEL, THE 10/22/21 20th RON'S GONE WRONG 10/22/21 Searchlight FRENCH DISPATCH, THE (Moderate) 10/29/21 Searchlight ANTLERS 11/5/21 Disney ETERNALS Wed 11/24/21 Disney ENCANTO 12/3/21 Searchlight NIGHTMARE ALLEY (Limited) 12/10/21 20th WEST SIDE STORY Wed 12/22/21 20th KING'S MAN, THE 2022 Films 1/7/22 20th UNTITLED 20TH CENTURY 1/14/22 20th DEEP WATER 2/11/22 20th DEATH ON THE NILE 3/11/22 Disney TURNING RED 3/25/22 Disney DOCTOR STRANGE IN THE MULTIVERSE OF MADNESS 4/8/22 Disney UNTITLED DISNEY LIVE ACTION 5/6/22 Disney THOR: LOVE AND THUNDER 5/27/22 Disney UNTITLED DISNEY LIVE ACTION 6/10/22 20th UNTITLED 20TH CENTURY 6/17/22 Disney LIGHTYEAR 7/8/22 Disney BLACK PANTHER: WAKANDA FOREVER 7/29/22 Disney UNTITLED INDIANA JONES 8/12/22 Disney UNTITLED DISNEY LIVE ACTION 9/16/22 20th UNTITLED 20TH CENTURY 10/21/22 20th UNTITLED 20TH CENTURY 11/4/22 Disney UNTITLED DISNEY LIVE ACTION 11/11/22 Disney THE MARVELS Wed 11/23/22 Disney UNTITLED DISNEY ANIMATION 12/16/22 20th AVATAR 2 12/23/22 20th UNTITLED 20TH CENTURY Continued on next page… As Of 6/17/2021 WALT DISNEY STUDIOS MOTION PICTURES RELEASE SCHEDULE (page 2 of 2) 2023 Films 1/13/23 20th UNTITLED 20TH CENTURY 2/17/23 Disney ANT-MAN AND THE WASP: QUANTUMANIA 3/10/23 Disney UNTITLED DISNEY LIVE ACTION 3/24/23 20th UNTITLED 20TH CENTURY 5/5/23 Disney GUARDIANS OF THE GALAXY VOL. -
Indiana Jones (Raiders of the Lost Ark)
INDIANA JONES (RAIDERS OF THE LOST ARK) Participants Method Any number of participants . Have students stand in 2 circles one small circle in the middle and then a large circle surrounding the smaller Time Allotment circle. The inner circle should face outward and the outer 5+ Minutes circle should face inward. There should be enough room between the two circles for the cage ball to fit and roll Activity Level around the circle freely. Participants will be pushing the Low cage ball around in a circle between the two lines of people. Materials . Instruct the participants to begin moving the ball around . Large Cage Ball works the circle working as a team to push the ball with their best. Beach ball could hands. Ask the participants to get the ball going around sub but is less fun. the circle as fast as they can. Large open room or . Once the ball is moving at a good pace the facilitator will outdoors walk around the outer circle and randomly hand the . Optional: Stuffed animal stuffed animal to a participant. When this occurs the participant will step into the circle, holding the stuffed animal, with the ball and attempt to run around the circle and return to their spot before the ball catches them (think duck, duck, goose). Make sure you also select people in the inner circle to run. Variation(s) . Alternative if a stuffed animal is not available: Once the ball is moving at a good pace the facilitator will walk around the outer circle and randomly tap participants on the shoulder. -
"It's Aimed at Kids - the Kid in Everybody": George Lucas, Star Wars and Children's Entertainment by Peter Krämer, University of East Anglia, UK
"It's aimed at kids - the kid in everybody": George Lucas, Star Wars and Children's Entertainment By Peter Krämer, University of East Anglia, UK When Star Wars was released in May 1977, Time magazine hailed it as "The Year's Best Movie" and characterised the special quality of the film with the statement: "It's aimed at kids - the kid in everybody" (Anon., 1977). Many film scholars, highly critical of the aesthetic and ideological preoccupations of Star Wars and of contemporary Hollywood cinema in general, have elaborated on the second part in Time magazine's formula. They have argued that Star Wars is indeed aimed at "the kid in everybody", that is it invites adult spectators to regress to an earlier phase in their social and psychic development and to indulge in infantile fantasies of omnipotence and oedipal strife as well as nostalgically returning to an earlier period in history (the 1950s) when they were kids and the world around them could be imagined as a better place. For these scholars, much of post-1977 Hollywood cinema is characterised by such infantilisation, regression and nostalgia (see, for example, Wood, 1985). I will return to this ideological critique at the end of this essay. For now, however, I want to address a different set of questions about production and marketing strategies as well as actual audiences: What about the first part of Time magazine's formula? Was Star Wars aimed at children? If it was, how did it try to appeal to them, and did it succeed? I am going to address these questions first of all by looking forward from 1977 to the status Star Wars has achieved in the popular culture of the late 1990s. -
'Toy Story 4' Bring Animation Into the Legacy Sequel Fold?
Could 'Toy Story 4' Bring Animation Into the Legacy Sequel Fold? Forky is the googly-eyed face of the future for the 'Toy Story' franchise, but what might that mean for Woody and Buzz? TweetSharePostBookmarkSubscribe If there’s one movie that could challenge Avengers: Endgame‘s dominance this summer (and 2019 as a whole), it’s Toy Story 4. Like Endgame, the Pixar animated feature is a Disney sequel, fourth in a series (but twenty-somethingth in a larger cinematic franchise). And like Endgame, Toy Story 4 appears to be passing the torch to a new generation of 1 characters. No, I don’t expect Buzz and Woody to die at the end of the movie so that Forky can take over as the star of a new phase of the franchise, but this could be the closest we come to an animated legacy sequel. Legacy sequels are primarily a live-action concept because they have to be. Returning to a franchise many years later means revisiting characters who are older and in need of being retired. We’ve seen this happen with Star Wars, Star Trek, Tron, Jurassic Park, Indiana Jones, Blade Runner, Rocky, Wall Street, and Halloween. And even many decades ago with The Color of Money passing the baton from The Hustler. But animated properties don’t ever need to be rebooted from within because their main characters never get old — or never need to, anyway. If The Incredibles had been a live-action superhero movie, perhaps the long- awaited Incredibles 2 would have required a bit more focus on the younger generation of the Parr family. -
AUTHOR the Development of Videodisc Based Environments To
! DOCUMENT RESUME ED 275 503 SE 047 477 AUTHOR Sherwood, Robert D. TITLE The Development of Videodisc Based Environments to Facilitate Science Instruction. PUB DATE Apr 86 NOTE 35p.; Document contains small print. PUB TYPE Reports - Research/Technical (143) EDRS PRICE MF01 Plus Postage. PC Not Available from EDRS. DESCRIPTORS Educational Technology; Higher Education; Instructional Materials; *Instructional Systems; *Interactive Video; Man Machine Systems; *Mediation Theory; Multimedia Instruction; Peer Teaching; *Problem Solving; Science Education; *Science Instruction; Secondary Education; *Secondary School Science; Videodisks IDENTIFIERS *Interactive Systems ABSTRACT Formal educational environments often provide less support for learning than do the everyday environments availableto young children. This paper considers the concept of idealized leataing environments, defined as "Havens." Variouscomponents of Havens are discussed that may facilitate comprehension, especiallyin science instruction. These components include: (1) the opportunityto learn in semantically rich contexts; (2) the availabilityof "mediators" who can guide learning; and (3) the importanceof understanding how new knowledge can functionas conceptual tools that facilitate problem solving. Three experimentswere presented that suggest some of the advantages of learning in "Haven-like" environments. Two experiments were done with collegestudents and one with junior high school students. The experiments involvevery simple uses of instructional technology, yet they showed -
Invaders Sample.Pdf
Mark McDermott 4937 Stanley Ave. Downers Grove, IL 60515 [email protected] These excerpts are intended as “writing samples” for the author of the articles presented. They are not intended for reuse or re-publication without the consent of the publisher or the copyright holder. ©2009 Robert G. Weiner. All rights reserved McFarland & Company, Inc., Publishers Box 611, Jefferson, North Carolina 28640 www.mcfarlandpub.com Mark McDermott 4937 Stanley Ave. Downers Grove, IL 60515 [email protected] The Invaders and the All-Star Squadron Roy Thomas Revisits the Golden Age Mark R. McDermott Introduction By the mid-1970’s, many fans of the “Golden Age” of comic books had grown up to become writers and ultimately editors for the comics publishers, sometimes setting the nar- rative histories for their favorite childhood characters themselves. Many of these fans-turned- pro produced comics series that attempted to recapture the Golden Age’s excitement, patriotic fervor and whiz-bang attitude. The most successful of these titles were produced by Roy Thomas, who fashioned a coherent history of costumed heroes during World War II, and rec- onciled the wildly inconsistent stories of the 1940’s with tightly patrolled continuity initiated with the “Silver Age” of the 1960’s. With The Invaders (1975-1979), Thomas focused on the hitherto unrevealed wartime exploits of Marvel Comics’ early mainstays Captain America, the Human Torch, and Prince Namor, the Sub-Mariner. In 1980, he moved to DC Comics and launched All-Star Squadron, which juggled the histories of the Justice Society of Amer- ica and nearly a hundred secondary characters. -
INDIANA JONES and the SAUCER MEN from MARS by JEB STUART STORY by GEORGE LUCAS and JEB STUART Based on Characters Created by George Lucas and Philip Kaufman
INDIANA JONES and THE SAUCER MEN FROM MARS by JEB STUART STORY BY GEORGE LUCAS AND JEB STUART Based on Characters Created By George Lucas And Philip Kaufman LUCASFILM LTD. REVISED DRAFT P.O. BOX 2009 February 20, 1995 SAN RAFAEL, CA 94912 THIS MATERIAL IS THE PROPERTY OF LUCASFILM LTD. AND IS INTENDED AND RESTRICTED SOLELY FOR USE BY LUCASFILM LTD. PERSONNEL DISTRIBUTION OR DISCLOSURE OF THIS MATERIAL TO UNAUTHORIZED PERSONS IS PROHIBITED. THE SALE, COPYING, OR REPRODUCTION OF THIS MATERIAL IN ANY FORM IS STRICTLY PROHIBITED. From the Paramount mountain WE DISSOLVE to an identical mountain towering over a subtropical jungle. Far below, a SMALL STEAMER moves down a dark river. A LEGEND APPEARS ON SCREEN: BORNEO 1949. KABUL(V.O.) Dr. Jones, we're out of coal! ANGLE THE BOAT A wild-eyed native man, KABUL, shovels the last dust of coal into the engine and looks back terrified at INDIANA JONES He comes up from below deck and takes the wheel. INDY Burn anything you can get your hands on, Kabul. I'll try to get her out into the current. He turns the wheel hard and checks the steam gauge. INDY Damnit, I meant to get that gauge fixed. He bangs it with his hand. ALONG THE RIVERBANK crocodiles, twenty-feet long and six months between meals, eye the boat. KABUL pulls down a pole holding the awning. He breaks it across his knee but instead of SNAP we hear a BOOM. Indy and Kabul exchange a look and suddenly a plume of water rises twenty feet high off the port side of the steamer.